A Quote by Lewis Hine

Photographs don’t lie, but liars may photograph — © Lewis Hine
Photographs don’t lie, but liars may photograph
While photographs may not lie, liars may photograph.
Leaders must not be naive. I used to say, "Liars shouldn't lie." What a sad waste of words that is! I found out liars are supposed to lie. That's why we call them liars - they lie! What else would you expect them to do?
But here's the thing about being honest: All the liars HATE you for it, and most of the people in the world are liars. They lie to their bosses, they lie to their families, they lie to themselves, they lie so much they don't even know they're lying anymore. If you have the courage to be honest even a little bit all those people will hate you for it, because their lie is reflected in your honesty. Oscar Wilde wasn't kidding when he said, "If you want to tell people the truth, make them laugh, otherwise they'll kill you."
People say: But photographs are all lies. That's not the point. The lie is a truth, too. How the hell are we going to know what Kissinger looks like? Well, the photograph tells us one version; I'm trying to tell it also, but differently.
Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.
However much [photographs] may lie, they do so with the raw materials of truth.
I do not photograph for ulterior purposes. I photograph for the thing itself - for the photograph - without consideration of how it may be used.
A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth.
As I was walking up the stairs to dad's old room, and I was looking at the photographs, I started thinking that there was a time when these weren't memories. That someone actually took the photograph, and the people in the photograph had just eaten lunch or something.
I love having the photograph in my hand. I love looking at the photograph. I love looking at a box of photographs. I just love the still photograph.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths.
Saudi Arabia is so conservative. At first there were photographs of women I took that I couldn't publish - of women without their abayas. So I started writing out little anecdotes about things I couldn't photograph and wove it in with a more obscure picture and called it "moments that got away". I realised these worked as well as the photographs by themselves. There are a lot of photographers who feel the story is all in the photographs but I really believe in weaving in complementary words with the pictures.
All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is.
We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make.
Photographs may be more memorable than moving images, because they are a neat slice of time, not a flow. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again.
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